mattressmacd

[mattressmacd]

Do we have an alternative to Tumblr yet?

[mattressmacd]

Fucking Sundays, man.

[mattressmacd]

You gotta love when over thirty is considered “old men.”

I made a meme

[mattressmacd]

A woman came forward and pointed out her assaulter because she believed that it was her civic duty.

A woman came forward with her allegations after years of getting therapy for the trauma she had experienced as a child.

A woman came forward despite how scared she was to face her assaulter in front of a nation.

A woman came forward and made a testament in front of a committee as the whole world watch, despite the hate and death threats she was getting.

A woman came forward and spoke up about her assault, about what her accuser had done in detail, and had thousands upon thousands of people standing by her. Supporting her. Believing her.

And yet,

many people still did not listen.

many people still called her a liar.

many people still threatened her.

many people still supported her abuser.

many people still believed the word of a man over the word of a woman. Of a victim.

Next time you think men are the victims and women have everything to gain by speaking up about their assault, please explain to me when you have ever seen that to be the case.

All I see is that a women spoke up about her sexual assault, and yet she was pushed aside and ignored as her abuser was granted a lifetime position in the highest court in the country.

All I see is an abuser has been appointed to a position in which he would be able to further control women and their rights to their own bodies.

All I see is another reason why women are so frightened to and believe that they shouldn’t speak up about their assault.

Because it wouldn’t matter.

Because nothing would happened.

Because you failed her.

[mattressmacd]

[mattressmacd]

I remember sitting next to the legendary Carol Stein a number of years ago at a benefit concert, and we struck up a casual conversation. When I mentioned I was an actor and singer, she smiled and asked where I served. It was hilarious. And true.

[mattressmacd]

Woah

[mattressmacd]

Show #10: STRAIGHT WHITE MEN It seems strange to offer commentary on a first preview (the first two scheduled previews were cancelled due to the departure from the production earlier this week of Tom Skerritt who has been replaced by Tony nominee Dennis Arndt). But they’re charging Broadway prices for that preview, so someone’s gotta talk about it—and it might as well be me. Let’s get the part most people are curious about out of the way first: Armie Hammer is an exceptional presence onstage. While this production has been touted as his Broadway debut, his bio lists no other theatrical experience. If this is his stage debut, it is an outstanding one—and if he’s this confident at the first preview when many moments still felt uneven, I can only imagine what he will be like as previews progress moving towards opening night. Hammer isn’t the only one giving a terrific performance—he is matched by the two actors playing his older brothers, Josh Charles (THE GOOD WIFE) and Paul Schneider (also making his theatre debut? No theatre credits in his bio). While the three men in no way resemble one another, the developed relationships between them allow the audience to have no doubt that they are related. I wish that same level of confidence was present in the fourth principle player, Stephen Payne, who had the unenviable task of playing Ed with minimal rehearsal as Mr. Arndt prepares to take on the role. When he was confident, his performance anchored the scene as the paternal figure should; however, due to his lack of time in the skin of the role, his pacing lacked the forward momentum of the other three actors. Should he continue with the role, it is likely he’ll settle nicely—but it is unclear how long he will play it until the new Ed takes the stage. The play itself is an interesting study of a privileged class. The playwright, Young Jean Lee (the first Asian-American woman to have a play produced on Broadway), has chosen not to write a play demonizing these men but one where the men are already aware of the privilege their straight white male status brings them. Ultimately, these are very aware men who liberally use their status for the defense of and aid of others. Because the characters are already so self-aware, there is an interesting dynamic added by the presence of the non-binary performance artist Kate Bornstein and gender fluid performance artist Ty Defoe. They are listed as Persons in Charge, which seems to be a new addition to the play since Ms. Lee’s production of the play at The Public Theater several years ago. As is, Bernstein and Defoe give a curtain speech explaining their own genders before appearing only in transitions during the play proper. Their purpose is unclear—and, at least as it seems in the context of the performance tonight, unnecessary. Anna D. Shapiro, who won every award under the sun as the director of AUGUST: OSAGE COUNTY and helms this production, is by no means a director with no point of view. I hope that with the continued work that happens during preview performances, she and her very gifted playwright and company of actors can focus that point of view into a more cohesive production of a fascinating play. #gaylyNYC

[mattressmacd]

Show #9: SKINTIGHT With the exception of four very talented principal performers—including a dynamite Idina Menzel in a role where she doesn’t sing a thing (although they have made a strange choice to have a song she sings play as exit music)—there isn’t much to like about Joshua Harmon’s newest play, SKINTIGHT, being given a slick production by Roundabout Theater Company at the Laura Pels Theatre. Sure, there’s an awfully classy set designed by Lauren Helpern, which puts us in the very chic West Village home of Elliot Isaac (QUEER AS FOLK’s Jack Wetherall)—a world-renowned clothing designer about to turn 70. Surprising him on the eve of his birthday is his neurotic daughter, Jodi (Menzel), who has arrived with her own mid-life crisis after her ex-husband decides to marry the much younger woman that he left her for. Her own crisis isn’t helped when Elliot’s live-in boyfriend, Trey (Will Brittain), enters the room announcing he’s her father’s partner while also treating the constantly present help like doormats. If that weren’t enough, Jodi’s own gay son—who happens to be the same age as Trey—Benjamin (Eli Gelb), arrives to add to the tension. SKINTIGHT is meant to be a meditation on beauty and its effects on people’s lives, but what it turns out to be is a bitchy cat fight where four rather unlikable people say nasty things to one another without much dimension to their supposed beefs with one another. It’s true that THE BOYS IN THE BAND has much bitchy cat fighting as well, but that comes from a developed place of self-loathing for its characters. SKINTIGHT doesn’t give us much background on these characters (other than Jodi) to explain why they are the way they are, making it very difficult to connect with any of them. And that’s a shame, because the actors are giving it their all—and the fault doesn’t lie in the assured performances they are giving. Menzel is hysterical in her overwrought opening diatribes and in her overbearing mother mode. Wetherall is an icy, stoic presence throughout—and Brittain brings a nice contrast as his far younger, far less sophisticated boyfriend. And Gelb turns in a strong performance in the most compelling of the roles, offering a young man both disgusted by his grandfather’s relationship while simultaneously being attracted to the boyfriend himself. Harmon, the playwright behind the acclaimed BAD JEWS and last season’s Broadway play SIGNIFICANT OTHER, has interesting ideas to express about aging and looks—but oddly enough, he doesn’t let things get much further than skin deep. #gaylyNYC

[mattressmacd]

Show #8: MY FAIR LADY Fair warning: I’m about to GUSH. Lincoln Center Theater is my favorite place in New York City to see a show, and that doubles when they are presenting a classic musical under the direction of Bartlett Sher. Whether it’s been SOUTH PACIFIC or THE KING AND I, they never cease to amaze me in their grandeur. This isn’t to say great musical theatre isn’t happening elsewhere in the city, but where else is it happening with such a big orchestra? MY FAIR LADY, Alan Jay Lerner and Frederick Lowe’s adaptation of Shaw’s PYGMALION, is now getting the LCT treatment—and IT. IS. STUNNING! Tony Award-winning costumes from Catherine Zuber, an incredibly effective (and show-offy) set by Michael Yeargen including a Higgins residence that spins, sumptuous musical direction by Ted Sperling (last night’s performance energetically and brilliantly led by Paul Staroba), and the usual contemporary fluid staging of Mr. Sher. And the performances are every bit as ravishing as the design. Just watch the detail of Linda Mugleston’s Mrs. Pearce—it’s all on her face; incredible Dame Diana Rigg—herself a former Eliza (though in PYGMALION)—showcasing her exceptional dry wit and command of the stage in the smallest of the supporting characters; and Jordan Donica is the loveliest Freddy Eynsford-Hill I’ve personally seen, with a goosebump-inducing voice and the great looks to go with it. Of course, it doesn’t hurt that Alfred P. Doolittle is played by the two time Tony winner Norbert Leo Butz who gives a performance so Shavian that it made me start imagining which other G.B. Shaw roles I’d like to see him play. And—filling in for Harry Hadden-Paton as Henry Higgins—Michael Halling is perfection, selling the usual bombast of the character, but also showing us the actual feminist side of him in some lovely moments pulled directly from Shaw’s original text. But, for me, the presence of Lauren Ambrose is what really makes this production shine the most—and that’s because her Eliza is one that makes her own choices about her future and feels less like a puppet than past productions and the film have allowed her to be seen. Much has been said about the final moment in past productions in comparison to this one (which I won’t spoil), but this is the first where I’ve truly felt that the characters were equals. That’s because of the performances being beautifully balanced by the director and his actors—and all directors should be so lucky to have such an actor as Ambrose to give the text such a contemporary sensibility. She also sings beautifully and moves gracefully—an Eliza that you absolutely can’t take your eyes away from. Although I can’t think of any reason why you would want to. Bravo! #gaylyNYC

[mattressmacd]

Show #7: THE BOYS IN THE BAND When Mart Crowley wrote THE BOYS IN THE BAND, Stonewall hadn’t happened. It was groundbreaking in that it showed gay men onstage, living life their way unapologetically. Fifty years later, the play’s first Broadway outing—in an impeccable revival directed by the genius Joe Mantello—stars nine proudly out gay actors. Some questioned the need for a play that showed gay characters in such a grim light, but this piece is a major part of gay history. And it celebrates how far we have come in those fifty years—a perfect way to conclude Pride month in NYC. It wasn’t lost at me that I sat in the Booth Theatre watching this play on June 29th—the 49th anniversary of the start of the Stonewall Riots. As for the production of the play itself, it is slickly staged by Joe Mantello in a seamless 110 minute production (the intermission has been removed) on a terrific two-level set by David Zinn (who also designed the costumes). The cast, headed by Jim Parsons as Michael, is on their A-game—and while Parsons is undeniably the lead player here, each of the other men are given beautiful moments to shine. And that includes a sublime Zachary Quinto—playing completely against type as a bitter, “pockmarked” Jew—as birthday boy, Harold. Matt Bomer proves to be a completely comfortable stage actor in the less flashy role of Donald (although the first five minutes do have him stripping down, showering, and redressing), giving a grounded and fantastic performance. Andrew Rannells’ terrific Larry is everything it should be, and Tuc Watkins beautifully balances their relationship. And Robin de Jesus, as Emory, nearly steals the show from his starrier fellow actors with brilliant comic timing and a touching monologue about the man he loves. Michael Benjamin Washington, Brian Hutchison, and Charlie Carver (understatedly hilarious) round out the outstanding ensemble. Even with the star power, this play is hard. It’s not easy to see friends treat each other so viciously—but it makes the final moments (in an incredibly effective scene between Parsons and Bomer)—that more touching. A splendid production. #gaylyNYC

[mattressmacd]

Shows #5 and 6: HARRY POTTER AND THE CURSED CHILD There’s not a lot of specifics I can give about HARRY POTTER AND THE CURSED CHILD—this year’s Tony Award-winning Best Play—while still keeping the secrets. While I won’t divulge details of the stagecraft, the effects, or the many surprises, I will say on record that all of these elements are magnificently done—and John Tiffany’s Tony as well as the win for the production itself is richly deserved. I know a lot of my friends have read the script to this new HARRY POTTER tale from the mind of JK Rowling, Jack Thorne, and Mr. Tiffany (Thorne wrote the actual script) and disliked it immensely. Diehards have screamed that it’s not canon and that it’s a horrible representations of the characters they love so fervently. While I’m a POTTER fan who has read all seven novels twice and seen the films a number of times, I wouldn’t call myself a diehard purist in the sense that many of those who issue these complaints are—but even with my knowledge of the original books, I can state unequivocally that this new story was compelling and moving in the same unexpected ways the first seven stories were. That’s not to say there weren’t more than a few times that things made me scratch my head. Some plot points seemed incredibly forced for an overall theme (spoiler alert: a secret child between Voldemort and Bellatrix Lestrange seems to defy logic) and at times it feels like the creators have crammed too much into it (when these plays are inevitably turned into film it will likely remain in two parts). But ultimately I found much to love in what is essentially a story about fathers and sons and the very complicated relationships that can exist between them. There are about four or five really terrific scenes between fathers and their sons in this play that are truthfully executed and beautifully acted. Speaking of beautifully acted, this production features more than magic in stagecraft—there is magic in performance as well. Led by the Harry Potter of understudy Stuart Ward—in his very first performance in the role on Broadway—the cast is truly magnificent. While I’m sure Jamie Parker’s Potter is remarkable, I can’t say a thing was wrong with Ward, who had striking similarities in appearance and mannerism to Daniel Radcliffe. Noma Dumezweni is a phenomenal Hermione Granger, commanding the character in a way that such an iconic role requires. Poppy Miller is lovely as Ginny, showing incredible maternal warmth and dutiful wife to a haunted man who needs her anchoring support. While it feels that Ronald Weasley has been relegated more to the sidelines at times, he is well-played with terrific humor by Paul Thornley. But it’s the spawn of the Potters and the Malfoys that are the true focus of the play, and both young actors are remarkable. Sam Clemmett and Anthony Boyle—as Albus Potter and Scorpius Malfoy, respectively—are commanding, funny, and heartbreaking. While the focus of the play may be the relationships between fathers and sons, friendship and its necessity remain vital to Rowling’s characters. An epic experience, to be sure. #gaylyNYC

[mattressmacd]

Show #4: MEAN GIRLS One thing is for certain: I liked MEAN GIRLS a whole lot more than I expected (up until seeing it live tonight, my only exposure was the number on the Tonys—and that didn’t excite me). In a high-energy production directed and choreographed by Casey Nicholaw, the cast is practically spot-on in redefining characters that were so beautifully played in the Tina Fey-scripted film. That Fey was on hand to adapt her film to the stage by writing the book is a bonus for the production. Although there are moments in the score that pop, none of the songs really exceed generic bubble gum melodies—and the lyrics frequently lack the satirical jab that many of Fey’s one-liners do. And how beautifully Fey manages to get the most popular elements of her screenplay into the stage adaptation, often poking fun at her own material to do so. It’s a funny script, and luckily she didn’t try to reinvent the wheel in the process of updating the story to include more of today’s reliance on social media. The production itself is top drawer, well-designed (these projections put ANASTASIA to shame) and energetically performed. If the energy seems to lag a bit following Janis’ (an outstanding Barrett Wilbert Weed) triumphant “I’d Rather Be Me,” it’s because there’s still too much plot to cover after it. But Nicholaw keeps things moving as best he can when he might have suggested some judicious pruning. In addition to the magnificent Weed, the rest of the cast is pretty terrific—but special mention must be made of Kate Rockwell, Ashley Park (richly deserving of her Tony nomination), and especially Taylor Louderman (ditto on her nomination) for turning the Plastics into such brilliantly developed comic characters. And Grey Henson, another nominee, practically steals the show with an amazing voice, amazing dancing, and brilliant comic timing as Damian. Did it deserve the Tony? No. But it is a tremendously well-done show in this era of film to stage adaptation—and it will run for a very long time if they can continue to cast it with as talented people as this vibrant original cast. #gaylyNYC

[mattressmacd]

Show #3: THE DESTINY OF ME I’m still reeling from being privileged to experience The New Group’s benefit reading of Larry Kramer’s THE DESTINY OF ME, the prequel to his own NORMAL HEART. In addition to hearing the work aloud—read by a very starry cast (they got multiple Emmy winner and Tony nominee Edie Falco to read the stage directions!)—it was also Kramer’s 83rd birthday, which was celebrated by a letter from the mayor as well as the audience singing “Happy Birthday” to him. I SANG HAPPY BIRTHDAY TO LARRY KRAMER! The evening began with an introduction from the Tony and Pulitzer winning playwright Tony Kushner, who not only said the play needed no introduction but also reminded the audience that politics and art aren’t mutually exclusive. He reminded us that it was Larry Kramer who went to the White House and booed loudly at Ronald Reagan. It was a touching tribute to a man who very clearly had an impact on Kushner’s life as a gay man, a playwright, and an activist. The reading that followed lacked the perfection that an extended rehearsal period would have given it, but the rawness and the passion behind the performances more than made up for any stumbles in dialogue (Ellen Barkin, in a RIVETING performance as Rena Weeks—stand-in for Kramer’s mother—amusingly tripped over one phrase to the point where she asked aloud “what am I saying?”). Director Trip Cullman clearly guided them in exceptional pacing and managed to create a believable family unit in one rehearsal. In addition to Barkin’s exquisite rendering of a domineering mother, there was Eric Bogosian as a harsh father and Josh Hamilton as a doctor struggling to find a cure while activists curse his very methods for research. An amusing rivalry between Hamilton’s doctor and Mark Ruffalo’s Ned (recreating a role he played on screen in THE NORMAL HEART) is well-played by both actors. Ruffalo as Ned and perfect Gideon Glick as the boy who would become him are magnificent in their individual performances and breathtaking in their interactions. With Lee Pace as Alexander/Ned’s older brother, Ben, the balance is incredible. When the three of them had scenes together, it was electric. I was less familiar with this piece as I am with THE NORMAL HEART, but the allusions to that seminal work make this one more heart wrenching. When Glick’s Alexander asks Ruffalo’s Ned “who’s Felix?,” you can’t help but feel it in the gut. It was one of many moments that brought me to tears, and just one of the reasons this particular performance of the material will resonate in years to come. #gaylyNYC

[mattressmacd]

Show #2: OTHELLO About 45 minutes into the first half of The Public Theater’s production of William Shakespeare’s OTHELLO (the first of two productions offered free for all at the Delacorte in Central Park), Mother Nature decided to open the skies up for a steady bit of rain. Some people left, of course, but 98% didn’t. By the time the rain even started, performances were so captivating it would have been a shame to miss a second. And the performers didn’t bat an eye...they continued, nailing every moment and refusing to yield to Mother Nature. The rain continued through much of the remainder of the first half, stopping just before intermission. It periodically resumed at lighter pace during the second half, and the Pride fireworks began during the climactic final scene—but not ONCE did an actor disengage or lose the momentum of their story. Their concentration and skill was truly impeccable. Ruben Santiago-Hudson, the Tony Award-winning actor and director known for his great connection to the plays of August Wilson, has directed a traditional OTHELLO with masterfully grounded performances. It’s traditional in dress alone, as everything else about the production felt entirely contemporary with much of the staging unexpected and lacking the stiltedness that comes from Shakespeare as presented in its original form. That he has such talent at the core is a gift to the play and to the audience. In the title role, Chukwudi Iwuji is so much more than a commanding general: he shows a man truly demonized by jealousy as well as a deeply heartbreaking torment of loss in the very final moments. Alison Wright’s exquisite Emilia is a backbone to the piece, never more evident than in the beautifully staged and balanced revelation scene. Heather Lind makes Desdemona far more compelling than any actress I’ve ever seen in the role, bringing a strength and truth that goes beyond just beautifully spoken words. But I’ve often said this play should be called IAGO even though it is Othello’s tragedy. With a performance as richly layered and subtly played as the one by Corey Stoll (brilliant in HOUSE OF CARDS and a sensational stage actor), I would almost continue to do so. Stoll’s Iago is played more as sociopath than psychopath—and it works to chilling effect. His command of the language is beautiful, with each and every soliloquy and pithy aside delivered exactly right. The physical production—designed by an entirely female team—is exceptional and looks perfectly at home with the backdrop of Central Park. The lighting, by Jane Cox, was especially haunting. It was a pleasure to experience Shakespeare in the Park and to enjoy OTHELLO for its final performance. This production will sit with me for a long, long time. #gaylyNYC

[mattressmacd]

Show #1: MARY PAGE MARLOWE What is most extraordinary about Tracy Letts’ MARY PAGE MARLOWE is how he has fashioned an incredibly interesting piece of theatre about the life of a perfectly ordinary woman. Divided into ten(ish) non-sequential scenes and divided among six different actresses to play the character at various points in this one woman’s life, Letts’ play is a puzzle—almost a mystery—that reveals its biggest emotional wallop only when all the pieces are finally formed. Premiered at Steppenwolf, MARY PAGE MARLOWE is given its New York debut by Second Stage Theatre in one of its Off-Broadway spaces, in a handsome (and likely very expensive) production, at the Tony Kiser Theatre. Directed by Lila Neugebauer, and slickly designed by Laura Jellinek (set), Kaye Voyce (costumes), Tyler Micoleau (lighting), and Brandon Wolcott (sound), Second Stage has assembled an ensemble of 18 actors—the largest cast of any production the company has ever produced. Neugebauer has the toughest job. It is her responsibility to take six actresses and make them one woman without damaging the gentle nature of the play itself. With the exception of one misstep and one performer who doesn’t at all seem to fit with the other five, the women playing Mary Page Marlowe do a beautiful job at giving us a cohesive characterization of one woman. Of the six, those who impress the most are the stunning Tatiana Maslany (in a very assured and accomplished debut), incredible Susan Pourfar, and—best of them all—DIVINE Blair Brown. In addition to the main character, twelve other roles come and go throughout the play—and they are brought to mostly vivid life by a talented group of actors. Nick Dillenburg and Grace Gummer are heartbreakingly effective as Mary Page’s tortured parents, and Brian Kerwin—as the best of her three husbands—turns in a gentle, loving, and understated performance that shows the work of a magnificent actor. While the production is top rate and the play itself fascinating, I hadn’t quite decided whether I liked it as of first walking out of the theatre. Upon reflection, I did like it—and most of that comes from playwright Letts’ phenomenal ability to make an audience care about people we probably wouldn’t think twice about should we encounter them on the street. An incredible playwright. An excellent production. #gaylyNYC

[mattressmacd]

A little promo video for A DOLL’S HOUSE, PART 2 sans the energy of an audience’s presence. Looking forward to welcoming that final element of live theatre at tomorrow night’s opening. Join us, won’t you?